State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

8:00 pm 12:00 am

Current show
blank

State Champ Radio Mix

8:00 pm 12:00 am


International

Page: 20

LONDON — The British government has pledged to look into the practice of dynamic pricing for music concerts after tickets for Oasis‘ highly anticipated reunion tour more than doubled in price on official ticketing platforms, prompting hundreds of complaints from disgruntled fans.
Tickets for the band’s 17-date U.K. and Ireland 2025 tour went on sale Saturday morning with prices starting at £65.00 ($85.00) for seating and £148.50 for standing tickets.

Fans’ excitement quickly turned to anger, however, after enduring long queues on the tour’s primary ticketing vendor, Ticketmaster, and then discovering that the cost of a standing ticket had soared to £355.00 without warning when they finally got to the front of the queue – due to high demand.

Trending on Billboard

Although tickets to all 17 shows sold out in less than a day, the unexpected price hikes provoked an angry backlash against Oasis and Ticketmaster from fans with hundreds venting their frustration on social media.

In response, the U.K. culture secretary, Lisa Nandy, said it was “depressing to see vastly inflated prices excluding ordinary fans from having a chance of enjoying their favourite band live.”

The cabinet minister said that dynamic pricing is one of the issues the government would be looking at as part of its previously announced consultation on the secondary ticketing market, which is due to begin in the fall.

Transparency and the technology that ticketing companies use to incentivize dynamic pricing would also be examined as part of the forthcoming review, said Nandy, adding that the newly elected Labour government is “committed to putting fans back at the heart of music.”

“Working with artists, industry and fans we can create a fairer system that ends the scourge of touts, rip-off resales and ensures tickets at fair prices,” she said in a statement.

Speaking to BBC Radio 5 Live on Monday, Prime Minister Sir Keir Starmer echoed the culture secretary’s concerns over secondary ticketing and said the government will get a “grip” on the issue of dynamic pricing to “make sure that actually tickets are available at a price that people can actually afford.”

“This is really important, because this isn’t just an Oasis problem,” Starmer told the BBC. “This is a problem for tickets for all sorts of events, where people go online straight away… and within seconds sometimes, sometimes minutes, all the tickets are gone, and the prices start going through the roof, which means many people can’t afford it.”

On Monday (Sept. 2), the Advertising Standards Authority (ASA) said it had received 450 complaints about “misleading claims about availability and pricing” concerning the sale of Oasis’ tickets by Ticketmaster. The regulator said it was “carefully assessing these complaints” and couldn’t comment further. Ticketmaster did not respond to requests to comment when approached by Billboard.

Priced Out

Although dynamic ticket pricing has become an increasingly regular occurrence in the U.S. live music industry in recent years, Oasis’ comeback tour – which is being jointly promoted by Live Nation, SJM Concerts, MCD and DF Concerts – marks its most high-profile and potentially biggest roll out for live music concerts in the United Kingdom and Ireland.

As in other countries, the practice is commonly used by travel companies, taxis and hotels in the U.K., but it is understood to have only been fleetingly used for gigs and tours so far in the British touring market and, when it has, has failed to draw major scrutiny or attention.

The furore around dynamic pricing from U.K. politicians is further unwelcome news for Ticketmaster owner Live Nation, which was hit with an antitrust lawsuit earlier this year, filed by the U.S. Department of Justice and a group of 30 states, who accuse the concert giant of market dominance and demanding that it and Ticketmaster be broken up.  

In the U.K., competition regulators looking into the live music business have so far largely focused on resale ticketing platforms such as Viagogo, which has previously been subject to numerous controversies, investigations and inquiries, culminating in the firm being ordered to offload its StubHub business outside of North America in 2021.

Calls for Stronger Protections

Scrutiny of all aspects of the live industry from governments and regulators in all major touring markets is nevertheless steadily growing.

Last year, the European Commission, the executive arm of the European Union, said that it was “aware of the concerns” about ticketing companies using dynamic pricing and was “monitoring the situation.” Excessive prices imposed “by a dominant company” would be in breach of EU laws, the commission warned at the time.

Prior to July’s U.K. general election, Labour Party leader Sir Keir Starmer said that, once in power, he would limit the number of tickets individual resellers could sell on resale platforms and give the U.K. competition watchdog greater powers to take “swift” action against services and scalpers who break the rules.

“The lack of transparency in live music overall is increasingly problematic. This is an opportune moment to look at the market overall,” says Adam Webb, campaign manager of consumer organization FanFair Alliance, who backs the government’s promise to examine dynamic pricing.

The U.K. Competition and Markets Authority (CMA) has also welcomed the government’s pledge to strengthen consumer protections around ticket buying and said on Tuesday it is “urgently reviewing recent developments in the ticketing market, including the way dynamic pricing is being used in the primary market.”

“Consumer protection law requires businesses to be fair and transparent in their dealings with consumers, and businesses must give clear and accurate information about the price people have to pay, ” said a CMA spokesperson. “Failure to do so may breach the law.”

After a four year hiatus, the DJ Awards are back.
A collection of DJs both famous and rising were recently announced as nominees in the awards’ nine music categories: house, Afro, techno, tech house, drum & bass, organic house, progressive house, breakthrough artist, live act and international DJ. Nominated artists include Peggy Gou, Martin Garrix, Blond:ish, Michael Bibi, Mochakk, Barry Can’t Swim, Francis Mercier, Rüfüs du Sol, Black Coffee and more.

See the complete list of genre nominees below. Voting for the awards is open to the public via the DJ Awards website.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Beyond the genre awards, categories include a group of industry-focused awards, with the Ibiza Icon award being given as, the awards state, “a tribute to the legendary figures who have shaped Ibiza’s music scene, leaving an indelible mark on the island’s rich club culture and in our hearts.” The Ibiza Track of The Summer award will go to the song that most powerfully soundtracked the summer of 2024 on the island, and a number of awards will acknowledge achievements in the industry and live music space outside of Europe. These awards will be be voted for by dance industry execs from the Association For Electronic Music (AFEM).

The ceremony is set for Oct. 2 at the island’s Club Chinois. Tickets for the event go on sale Sept. 13, the same day that public voting closes. 2024 marks the 23rd year for the DJ Awards, with the ceremony founded in 1998 by Ibiza residents José Pascual and Lenny Krarup.

Trending on Billboard

The Awards are now under new ownership after being taken over earlier this year by Andy Grant, who recently told Mixmag that in 2024 “the most important outcome being to gain the respect of the global dance community as the new trusted guardians of this responsibility. Beyond that everything is on the table, and my vision is nothing short of positioning the DJ Awards alongside the Oscars and the Brit Awards in terms of scale, reach and recognition.”

2024 DJ Awards Music Categories & Nominees:

House

Gorgon City

Honey Dijon

Kerri Chandler

Sam Divine

Seth Troxler

Syreeta

TSHA

Trance

Armin van Buuren

Astrix

Dash Berlin

Infected Mushroom

Paul Van Dyk

Tiësto

Vini Vici

Techno

Amelie Lens

Charlotte de Witte

Indira Paganotto

Paco Osuna

Nico Moreno

Sara Landry

Sven Väth

Progressive House

ARTBAT

CamelPhat

Cristoph        

Eli & Fur

Eric Prydz

Franky Wah

Hernán Cattáneo

Tale of Us

Organic House

Bedouin

BLOND:ISH

Jan Blomqvist

Monolink

Patrice Bäumel

Robag Wruhme

WhoMadeWho

Tech House

Jamie Jones

Joseph Capriati

Marco Carola

The Martinez Brothers

Michael Bibi

Mochakk

PAWSA

Solomun

Vintage Culture

Afro

Black Coffee

Francis Mercier

Kelvin Momo

KILIMANJARO

Kitty Amor

Major League DJz

Pablo Fierro

Themba

Live Act

Barry Can’t Swim

Ben Böhmer

Bicep

Fred Again..

Mathew Jonson

Róisín Murphy

Rüfüs du Sol

Drum & Bass

Bou

Chase & Status

Hedex

Nia Archives

Sub Focus

Wilkinson

The Riot Noise Breakthrough Artist

Archie Hamilton

Ben Sterling

Desiree

Fleur Shore

James Hype

Miss Monique

Sammy Virji

Wade

International DJ

Calvin Harris

David Guetta

Dimitri Vegas & Like Mike

Fisher

Martin Garrix

Peggy Gou

Swedish House Mafia

The Cámara Argentina de Productores de Fonogramas y Videogramas, or CAPIF, has released its 2024 music report, which analyzes last year’s music consumption in the country.
In 2023, the market grew by 8.2% compared to 2022 with a sustained revenue growth trend in the digital space. According to the 70-page report, the data reflects the predominance and prevalence of digital consumption in today’s music industry with audio and video streaming dominating the market with 75%.

Furthermore, the public communication rights, collected by AADI-CAPIF, make up 16% of the market, while physical sales, represented by CDs and vinyl account for 8%. Synchronization, which covers the use of music in advertising, films and television, accounts for the remaining 1%.

“The music industry in Argentina has experienced a remarkable transformation in recent years,” wrote Diego Zapico, president of CAPIF, in the report. “From the explosion of urban sounds to the resurgence of traditional genres, the production of our music is leaving an indelible mark both nationally and internationally. The current state of Argentine music is vibrant and is full of challenges and opportunities, typical of this moment we are living in the country and globally … there’s a possibility of reaching the public through multiple platforms and formats.”

Trending on Billboard

While Argentine hitmakers like Maria Becerra, Bizarrap and Nicki Nicole have offered a global spotlight to the country’s burgeoning urban music scene, their music also fared well at home. According to the report, 53% of the music played in Argentina in 2023 was local repertoire.

The data also includes the top 10 songs from last year, which include Maria Becerra’s “Adiós,” “En La Intimidad” by Emilia, Callejero Fino and Big One, plus Ke Personajes’ “Pobre Corazón” ft. Onda Sabanera.

Read the full report in Spanish here.

The former USSR might not be considered a musical hotbed, but a new compilation of rare music from the Soviet Union lifts the veil on the vibrant, dance-focused scene that existed there in the 1980s.
Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980s Soviet Central Asia, offers 15 ’80s-era songs from the region, with the project made after deadstock vinyl was discovered at a Soviet-era vinyl plant in Uzbekistan capital of Tashkent.

This rarely heard music — including loads of funk and Moroder-adjacent disco — is out digitally this week and will be available in physical formats on Sept. 24, via Ostinato Records.

Trending on Billboard

The music contained on the compilation came to life as a function of world events. In 1941, Stalin ordered a mass evacuation as the Nazis invaded the USSR, with 16 million people boarding trains to Central Asia. Many of them landed in Tashkent, with this group including the engineers who, four years later, would found the Tashkent Gramplastinok factory.

The 15-track compilation is forged primarily of vinyl discovered at this plant, with groups from all over Soviet Central Asia — Tajikistan, Kazakhstan, the Crimean Peninsula and beyond — traveling to Tashkent to record music.

By the mid-’70s, the Soviet disco scene was in full swing, with Latvian DJ Hardijs Lediņš writing a widely read manifesto urging, the album’s liner notes recount, that “greater professionalism amongst musicians was necessary because ‘like mushrooms after the rain, like the rain after a hot day, that’s how discos are springing up today.’ Lediņš echoed the sentiment of many young people who believed these clubs should play more than music imported from the West, where disco was exploded after being born in the clubs of New York City.

“Recognizing the futility of banning disco clubs outright,” the liner notes explain, “the authorities, ever mindful of ideological control, opened dance spaces exclusively through Komsomols (state youth leagues), requiring partygoers to sit through a one-hour lecture on the Soviet worldview before the music dropped”

The U.S.-born genre became so popular in the USSR that by 1976, the Latvian capital of Riga hosted the first week-long USSR-wide disco festival, with artists flying in from across the region to perform. “Almost 200 disco clubs were soon registered with the local Komsomol in Moscow and 300 in Riga,” the liner notes continue, “and eventually, according to data pieced together during our research, about 20,000 public discos were attended by 30 million people a year across all 15 republics in the union.

With discos raking in money, “Dances were now allowing black market trading to fester. ‘Western clothes and other hard-to-get items—vinyl, jeans, foreign cigarettes—were literally being sold under the table. Discos had become a space for early alternative culture, as well as private commerce.’”

Meanwhile, a so-called “disco mafia” emerged in many Soviet cities including Tashkent, with these entities controlling “a lucrative business model with multiple revenue streams. Propaganda and ideology officials began accepting bribes to turn away from clubs indulging in ‘bourgeois’ extravagance or music viewed as ideologically adversarial.

“But the impact of this music went beyond just entertainment or cultural showcases,” the notes conclude. “From the opening of these clubs in the 1960s onwards, the political ranks drew from what historian Sergei Zhuk called ‘The Deep Purple Generation.’ Disco and rock in the Soviet Union played a not insignificant role in the USSR’s unraveling, steering youth leagues and, in turn, future leadership towards attitudes far removed from Soviet gospel.”

The Soviet Union was dissolved in 1991, with Synthesizing the Silk Roads offering a relic from this perhaps unlikely moment in music history.

Billboard Canada Women of the Year is coming up on September 7, and the Woman of the Year has been named: Charlotte Cardin. 
The Montreal artist is the first Canadian artist to win the prestigious award, joining prior Billboard Women of the Year including Taylor Swift, Beyoncé, Madonna, Billie Eilish, SZA and Karol G.

Since releasing her second full-length album 99 Nights a year ago, the singer-songwriter has had two EP releases, multiple chart hits, and an international breakthrough that’s brought her from the NBA All-Star game to a gala singing for U.S. President Joe Biden. Now, amidst a world tour that’s brought her all over North America and Europe, she’s entered a new phase of her career — an undeniably global one.

She talks about it all in a new digital cover story for Billboard Canada.

Trending on Billboard

“Being able to export my music makes me feel so good,“ she says. “It’s even the thing that makes me the happiest. Ever since I was little I wanted to make [music] my career, and it makes me even happier to know that it can do good for other people.”

When it was released, 99 Nights stayed on the Billboard Canadian Albums chart for 31 weeks. In March, her infectious pop single “Confetti” debuted on the U.S. Billboard Adult Pop Airplay chart, remaining there for 16 weeks. It was one of many singles to also chart on the Billboard Canadian Hot 100. 

While she primarily sings in English, with her personal-yet-relatable pop music, Cardin is a rare Francophone Quebec artist — taking a path forged by Celine Dion and travelled by artists like Coeur de pirate — to break through in English-speaking Canada and America. 

The Woman of the Year award will bring her from her Europe tour to Toronto for Billboard Canada Women in Music on September 7, where she will accept the award and sing a special piano-led performance at the ceremony. 

She’ll keep good company, joining one of the most successful Canadian artists of all time Alanis Morissette, who will accept the Icon Award.

Other honorees include Jessie Reyez (Trailblazer Award), Jully Black (Impact Award), The Beaches (Group of the Year), LU KALA (Rising Star), Allison Russell (Breakthrough Artist of the Year) and more. 

There will also be a number of big performances, including from award winners Jully Black, LU KALA, charting Montreal dance-pop artist Rêve, Polaris Prize winning rapper Haviah Mighty and many more. – Richard Trapunski

Two Long-Running Canadian Acts Go Indie

Call it the Seven Year Itch perhaps? After that long on Sony Nashville, critically-acclaimed award-winning Canadian country star Tenille Townes has left her label in favor of forging ahead as an independent artist. 

As reported earlier in Billboard, Townes broke the news via an Instagram post on Monday (Aug. 26). It reads, in part: “My Nashville record label and I have parted ways. This is not a sob story, but a story of opportunity. We had a really good run and this is a big shift for me. We haven’t been seeing eye to eye on my music and my path and it’s creatively been a struggle waiting on green lights inside a corporate system that doesn’t make a lot of sense anymore.

“I want the freedom to write and record a song and be able to get it to you guys, and making this decision means I can do that as I take back ownership of what I create. And that feels liberating and if I’m honest it also feels terrifying.”

She has long been established as one of Canada’s elite country artists, winning 17 Canadian Country Music Association (CCMA) Awards and two Juno Awards for Best Country Album. Townes has Canadian tour dates in Atlantic Canada and Ontario, Oct. 9-26 and will perform at Rogers Place in Edmonton for the 42nd annual CCMA Awards 2024 CCMA Awards on Sept. 14.

Townes is the second prominent Canadian act to take the leap from major label to independent status in as many weeks. Saskatoon rockers The Sheepdogs recently split from Warner Music Canada and bought back their catalogue, launching their own label Right On Records, distributed through The Orchard worldwide.

They marked the occasion with the release of a surprise new five-track EP, Paradise Alone. For the ‘70s rock throwback band, who gained prominence after winning a contest to appear on the cover of Rolling Stone in 2012, it represents a turning point. 

“We’ve been a band for 20 years, and pretty comfortable with who we are and how we do things. We’ve lasted this long by staying true to ourselves, doing things our way, and not chasing trends,” said bassist Ryan Gullen in a statement, noting that the band already handles their own management, marketing and production. “Acquiring our catalogue and starting our own label is about taking things to the next level. We want to be in the driver’s seat, doing things our way, and maybe even helping other artists do the same. With so much constantly changing, we’re focused on staying true to our approach.” – Kerry Doole

LONDON — Nearly three decades after Oasis‘ cultural and commercial peak, the Gallagher brothers — songwriter/guitarist Noel and singer Liam — are once again making headlines around the world, following the shock announcement that the long-warring siblings are to reunite for a series of huge outdoor shows in the United Kingdom and Ireland next year.
In the U.K., anticipation for the band’s comeback has been building since rumors began circulating several weeks ago that the feuding brothers had buried the hatchet after a 15-year war of words and were set to return. The group split up in 2009 when Noel quit before a show at French music festival Rock en Seine following an argument with Liam.   

Oasis fans’ wildest dreams were realized on Tuesday (Aug. 27) with the announcement that the band will play a massive 14-date stadium tour of the U.K. and Ireland next summer, marketed as ‘Oasis Live ’25.’

Trending on Billboard

“The guns have fallen silent. The stars have aligned. The great wait is over. Come see. It will not be televised,” Oasis bullishly said in a statement, prompting a feverish rush of news coverage in their home country and beyond that has reignited interest in the Britpop-era rock act. 

Registration for the tour’s ticket pre-sale opened the same day. 48 hours later the group announced three extra concert dates due to “unprecedented demand.” 

The additional gigs mean Oasis will now play five nights at London’s 90,000-capacity Wembley Stadium, five nights at Heaton Park in their home city of Manchester (80,000 cap.) and three shows at Murrayfield Stadium, Edinburgh (67,000-cap.), as well as two performances at Dublin’s Croke Park (83,000-cap.) and two shows at Cardiff’s Principality Stadium (74,000-cap.).

With tickets expected to quickly sell out when they go on sale Saturday (Aug. 31), Oasis look set to perform to around 1.3 million people across the 17-show run, according to Billboard‘s calculations.

That puts the band’s live return at a similar level to Taylor Swift‘s recent U.K. and Ireland leg of her “Eras Tour,” which spanned 18 sold-out stadium shows, including eight nights at Wembley Stadium – a new record for a solo singer at the venue. The estimated total attendance for Swift’s U.K. shows was 1.2 million, not including her three shows at Dublin’s Aviva Stadium.

With tickets to Oasis’ live shows priced between £65.00 ($85.00) and £250.00 ($330.00), excluding fees, Billboard estimates that the tour — jointly promoted by Live Nation, SJM Concerts, MCD and DFC — could gross the band around £200 million ($262 million) on ticket sales alone (based on an average ticket price of £150.00). When VIP and premium packages, merchandise, sponsorship, performance rights and future filming revenues are factored in total earnings are likely to be at least double that amount, according to talent agent Jonathan Shalit, posting on X before the three extra concert dates were announced.

FINANCIAL WINDFALL

“It’s a once in a generation moment for a lot of music fans to experience an iconic rock band that has a very special place in many people’s hearts. It’s also going to be a really big economic moment for the country and music industry,” Tom Kiehl, chief executive of umbrella trade body UK Music, tells Billboard.

In 2023, 19.2 million “music tourists” — defined by UK Music as someone who travels outside of their hometown or city for a gig or visiting from overseas — attended live concerts and festivals in the United Kingdom, up 33% on the previous year, generating 8 billion pounds ($10.3 billion) for the country’s economy.

Susannah Streeter, head of money and markets at investment firm Hargreaves Lansdown, says the frenzy of interest in Oasis’ return ensures it will create large revenues for hotels, taxis, bars, restaurants and pubs in cities where the band is performing “bringing a significant boost to the U.K. economy.”

The U.K. leg of Swift’s “Eras Tour” was estimated to have earned £1 billion ($1.3 billion) for the U.K. economy, according to analysis by Barclays bank, based on Swifties each spending a projected £848 ($1,100) on tickets, travel, accommodation, outfits and other expenses.

“While spending by Oasis fans might not reach those heady heights, they are unlikely to hold back from splashing the cash to celebrate the brothers’ return,” Streeter tells Billboard.

In Oasis’ home city of Manchester, the band’s five shows will earn the local economy over £15 million ($19.7 million), says Sacha Lord, the city’s nighttime economy advisor and founder of Parklife music festival.

WILL A RISING TIDE LIFT ALL BOATS?

Alongside the financial benefits, live execs hope that the explosion of interest in Oasis will strengthen support for the U.K.’s struggling grassroots music sector, where the band cut their teeth in the early 1990s, but has experienced a tide of small venue closures in the decades since.

According to the Music Venue Trust (MVT), just under 150 grassroots venues closed or stopped staging live music in the U.K. in 2023. Of the 15 venues that Oasis played on its first ever tour, nine are reported to have closed or are no longer putting on gigs.

To stop the wave of small venue closures, live execs are pushing for the British government to cut sales tax (VAT) on tickets for all grassroots music shows from 20% to the European average of between 5-7%. Doing so “will mean more shows and festivals, thriving venues of all sizes and [help] the next world class superstars off the U.K. talent production line,” says Jon Collins, CEO of U.K. music trade body LIVE.

“The Oasis reunion is a huge moment not just for fans, but for the live music industry too,” Andrew Foggin, global head of music at ticketing company DICE, tells Billboard. “These high profile, beloved artists serve as a catalyst to get people out more. They don’t just draw crowds to massive stadium events, but they also remind people what makes live music so special, creating benefits for the rest of the industry.”

As for the Gallaghers themselves, they stand to land a sizable royalty windfall even before a single ticket is sold. On the back of Tuesday’s reunion announcement, Oasis’ Spotify streams spiked 690% globally, says the streaming service, with some of the band’s lesser-known songs such as “Turn Up The Sun” and The Swamp Song” enjoying especially large spikes (450%-plus) in the U.K. The band has more than 24 million monthly listeners on Spotify with its most popular song, “Wonderwall,” having been streamed more than 2 billion times in total.

On TikTok, Oasis has seen a 101% increase in video views, creations and user engagement over the past seven days, with #OasisReunion having 109 million video views over the past two weeks, reports the platform. (Billboard understands that Sony Music owns the master rights to Oasis’ entire catalog, which it licenses back to the band’s label Big Brother Recordings, with the exception of 2008’s final album Dig Out Your Soul, which Sony doesn’t own).

“Oasis has always been popular on TikTok, and the news of the reunion has taken it to another level,” says Adam Read, TikTok’s U.K. and Ireland music programs manager. “Fans have celebrated in typically creative ways, whether it’s dressing up like Liam Gallagher waiting [for] the on sale or remixing classic Oasis tracks in unique TikTok videos. We’re excited to see how the community will continue to get creative with the band’s catalog on the platform.”

So far, the only live dates announced by Oasis are the 17 shows in the U.K. and Ireland, although the fact that the band is calling its 2025 outing a world tour suggests that international dates, including possible U.S. shows, will likely follow. It’s anticipated that additional U.K. shows could be announced if the initial ticket allocation sells out quickly, although the band has made it clear that it will not be playing next year’s Glastonbury festival, as previously rumored.

“Oasis were the last big band of the pre-digital era,” enthuses Kiehl. “There’s a legendary status attached to them and there’s a whole new generation of Oasis fans who have never seen them perform live, as well as all of their original fans from the Nineties, so their return is going to be a really big moment for the music industry and live music.”

With just a month and a half before the 2024 edition of ADE, organizers have announced a new slew of names for the 2024 program.
Joining the lineup for the annual dance music industry conference in Amsterdam are SoundCloud CEO Eliah Seton, who will take part in a conversation with Dutch producer Mau P to talk about the producer’s success and the role SoundCloud has played in supporting him and other artists.

Representatives from Bandcamp are joining the program for a session that will focus on the company’s artist payment model, maximizing revenue in a challenging landscape and why fan engagement and diversified income streams are important for the success of artists.

Also new to the program is a conversation with German producer Ellen Allien and Dimitri Hegemann, the founder of the nightclub and record label Tresor Berlin, who will talk about the UNESCO cultural heritage designation of the Berlin techno scene. Talks from artists including Don Diablo and Laidback Luke, Smallgod, Jaguar, Miss Nine and OVO Sound’s Naomi Sharon and her manager Jasper ‘Djosa’ Cremers will also be featured at the event. Representatives from Warner Music, Hospital Records, Glastonbury, ID&T, Primary Talent, SiriusXM and more have all also been newly added to the program.

This group joins already announced participants including Empire president Tina Davis, Spotify’s head of music for Sub-Saharan Africa Phiona Okumu, Grimes’ manager Daouda Leonard, Believe’s global head of music Romain Vivien and TuneCore CEO Andreea Gleeson. Previously announced speakers include Timbaland, Martin Garrix, Laurent Garnier, music executive Grace Ladoja and representatives from fabric London, Armada Music, WME and UTA.

Trending on Billboard

Additional programming includes Australia House, an initiative from Sounds Australia, an organization that helps Australian artists develop their careers abroad. For the duration of ADE, Australia House will take over the city’s Box Sociaal cafe to host execs from around the world for morning coffee, lunch and dinner and to present events by Australian artists on Oct. 16-17.

ADE 2024 will take place at locations throughout Amsterdam and again be divided into Lab and Pro programming, with Lab content tailored for people trying to get into or just starting out in the industry and Pro programming designed for established managers, label execs, artists, streamers, marketers, promoters and more.

The conference also offers consumer-facing events, with last year’s musical offerings happening in more than 200 venues around the city.

Attending Burning Man is an investment. There’s the $575-plus needed for a ticket; more for the flight or long drive to Nevada’s remote Black Rock Desert, where the event takes place each August. There’s the money for food, outfits, a bike and the many other supplies needed to survive in the barren setting. Most attendees take time off from work, including a few days on the back end to get home and recover. It’s hot, dusty and often mentally, emotionally and physically draining. A lot of people love it; others say they’d never go, and some simply don’t have the resources to make it happen.
But while the Burning Man Project’s famous mothership event is happening this week (Aug. 26-Sept. 2), another 85 official global Burning Man events, called “Regionals,” have long offered people around the world a chance to Burn more locally. In 2023, 93,000 people attended these global Regionals. There’s Kentucky’s Singe City; Michigan’s Lakes of Fire; and events in Arkansas, Utah, Virginia and approximately 70 other U.S. sites. The biggest Regional, AfrikaBurn, draws roughly 10,000 to Cape Town, South Africa every April. Taiwan’s Turtle Burn launched in 2019. Each July, roughly 400 people gather in the Romanian forest for RoBurn.

Trending on Billboard

Burning Man 2024 has made headlines for not selling out for the first time in years, with tickets usually very difficult to get. (Sources close to the event estimate that roughly 10,000 tickets went unsold this year, bringing the attendance number down to approximately 70,000.) But while many Burners say the extreme heat of 2022 — when daytime temperatures reached 106 degrees — and the headline-making rain of 2023 are reasons many veteran Burners are taking this year off, Burning Man CEO Marian Goodell also points to the generally soft festival market, and to the Regionals.

“The goal has always been to decentralize this, because Black Rock City was never going to have the capacity,” Goodell says. “And with travel challenges, the cost, the heat — it isn’t for everybody. But when I meet people that tell me, ‘Are you f–king kidding me?’ [in regard to going to Black Rock City], I’m like, ‘Well, where do you live?’”

Goodell and Burning Man Project — the San Francisco-based 501(c)(3) nonprofit that produces Burning Man and supports the global Burning Man community — has been directing Burners to Regionals since 2007, when the first official offshoot launched. Regionals had been germinating since 1997, when representatives for Pershing County, where Burning Man is held, sent organizers a huge bill for county services at the end of the event. Groups of Burners offered to fundraise, including one based in Austin, Texas. The internet had just come online, so Goodell created austin@burningman.com to help facilitate the fundraiser, and the first Regional group was born.

“Then I did New York, Canada and Seattle,” she says. “The internet allowed people to leave Burning Man and say, ‘Where are the other Burners?’”

As it turned out, with the global Burning Man network growing in tandem with the growth of the main event, they were everywhere. Soon, groups of Burners were meeting up across the country, placing glowsticks on bar tables to identify themselves and, in doing so, living out the Burner philosophy that it’s not just an event, but a culture that can exist anywhere.

Argentina’s Fuego Astral

Courtesy of Ignacio Roizman

Ignacio Roizman has traveled to Black Rock City from his home in Buenos Aires, Argentina many times over the years. Wanting to help bring Burner culture back home, he co-organized Argentina’s Regional, Fuego Austral, in 2016, when two groups of Argentinian Burners who’d been gathering for meetups joined forces to put on a multi-day campout.

“It’s very expensive to get from Argentina to the U.S.; you need a visa, you need the supplies,” Roizman says. “It’s basically an economic and logistical challenge.”

The most recent edition of Fuego Austral, in February, brought roughly 1,000 people to a swath of verdant farmland four hours outside of Buenos Aires. Like in Black Rock City, there was art, music and the ritualistic burning of a man made from wood. (In the past, Israel’s Midburn has set fire to both a man and a woman.)

“The biggest difference between Regionals and Black Rock City,” Roizman continues, “is the intimacy you can create in a space where you have 1,000 people instead of 80,000. By the end of the week, everybody knows each other.” Most Fuego Austral attendees have never been to Black Rock City, although Burners from countries like Brazil, Israel and the U.S. have flown in to attend.

Representees from The Org (as Burning Man Project is called in Burner parlance) advise Regionals on how to organize, with a few primary requirements. One is that events start small, with Goodell saying that even 1,000 people is too big for an inaugural year. Organizers need to have gone to Black Rock City at least once. Like Black Rock City, Regionals must allow children.

“We have a team that decides if the intention is in the right direction and if the people are skilled enough to do it,” says Goodell. “We’ve taken permission away when events looked more like a rave.”

Aspiring Regionals must also abide by Burning Man’s 10 Principles, the social guidelines for existing at a Burning Man event; these rules were in fact created in 2004 as a response to the Regionals. When the Regional network was taking shape in the late ‘90s and early ‘00s, Goodell put groups on an email thread with late Burning Man co-founder Larry Harvey, who answered their questions. Over time, the Principles — which include radical self-reliance and leaving no trace — developed as, Goodell says, “a direct response as to what kind of guidelines would help facilitate a Burning Man event.”

“One of the first questions was, ‘Why can’t we do vending? We want to be a Burning Man event, but we want to sell hot dogs or whatever,’” Goodell recalls. Harvey’s response spurred a discussion that ultimately created the “gifting” and “decommodification” Principles, the latter of which states that “our community seeks to create social environments that are unmediated by commercial sponsorships, transactions, or advertising.”

The Org also offers practical support, helping Regionals write press releases or find an attorney if legal advice is needed. They step in if a death happens at a Regional (which has happened a handful of times over the years), provide advice on creating a business entity like an LLC and, Goodell says, “sometimes go in to help with drama.

“Different cultures deal with different problems differently,” she adds. “The folks in Sweden, for instance, lean towards more socialist solutions when making decisions. Parts of the United States might be more hierarchical.”

Argentina’s Fuego Astral

Courtesy of Ignacio Roizman

In a more obvious way, most Regionals look very different than Black Rock City, which is famous for its barren environment. For many, this singular landscape is what makes Burning Man Burning Man.

“We’ve asked ourselves that a lot,” Goodell says of whether the intensity of the desert defines the event. “When I first joined the organization, I asked Larry, ‘Why the Black Rock Desert?’ He said it was a practical thing; that when you’re in nature and forced to reflect on yourself and your role in nature, you can see how small you are. Plus [the environment] makes you band with others for your own survival.” 

The philosophy here is thus that Burning Man is not defined by being caked with a layer of dust, but being in the middle of nowhere. (To wit, Spain’s Regional, which takes place in the Monegros Desert, is called Nowhere.)

“Through the evolution of the Regionals, we’ve discovered you really should be as remote as you can, but it can be green rolling hills,” Goodell says. ‘You should not be walking to a store or gas station. To me, that’s more important than the weather being hard.”

A Las Vegas Regional she attended was visible from the road, which, she says, “was a negative.” Miami’s Love Burn, which takes place on the city’s Virginia Key, also has “a lot of challenges” given that attendees can Uber there and stay for a day. Goodell says these shorter experiences are “just not as transformative” as a multi-night event.

But Regional organizers do find ways to build in challenges. Fuego Astral requires attendees to be dropped off at the front gate and then walk across the sprawling site to get to their camp, which makes it so, Roizman says, people “have experienced that sense of overcoming a challenge.”

But while Black Rock City is remote, given that tens of thousands of people arrive there and build a bustling and often very noisy city, it’s not an ideal setting for those who prefer country life.

“Black Rock City has a culture that’s sometimes very urban,” Goodell says. “A lot of people will tell you they’d rather go to Michigan’s Lake of Fire that has 2,500 people instead of 80,000, because they live rural.”

A young Burning Man staffer recently attended Lake of Fire, which happens in Rothbury, Michigan, to help The Org figure out why young people aren’t going to Black Rock City in high numbers. “She feels like the cost is one of the reasons,” says Goodell, who teared up when seeing photos of lights reflecting on a lake at Lakes of Fire in a way that reminded her of Black Rock City. “You don’t have to go to Black Rock City to be touched, create new community, collaborate on art and be together.”

Goodell says for her it’s especially satisfying to see Regionals develop in places like the former Eastern Bloc, where creativity has often been stifled by socio-political circumstances. She says while the Russian and Ukrainian groups are both currently “a bit stunted” because of the war, people from these countries are in attendance this week at Black Rock City. Israel’s Midburn, the second largest Regional after South Africa, typically brings 10,000 people to the desert, but scaled down to about 1,500 this year due to the war. The Thai and South Korean Regionals are produced largely by expats, although Goodell says that “we really would prefer locals produce the Burning Man culture and not the traveling expats.”

The goal with the Regionals is simply to keep growing them. This past April, the European Leadership Summit Gathering happened in Talinn, Estonia and brought 30 staffers and 200 Burners from Europe and beyond together for panels and networking. Estonian Burner and Summit attendee Pille Heido says the experience provided the education and inspiration to “make sure people don’t just focus on that one event in the desert in August, which is great, but make sure there’s other things you can do outside of it as well.”

Goodell says additional funding for Burning Man Project would help spur the Regionals network, with South America and Asia being regions “that could use more encouragement.”

But where this money will come from is, she says, “the 10-million-dollar question.” While Burning Man Project raised $8 million in 2023 through ticket sales and philanthropy, “We’re absolutely at a point where we’re going to need to have a conversation about the longer-term method.” Goodell says a donation model “is the next bridge. Someone who doesn’t go to Back Rock City might still give $250.”

But while that evolution of that issue is yet to be seen, Goodell says Black Rock City being down in population this year is, in a way, a sign of health. “We’re proud of the fact that people are like, ‘I went to my Regional this year, so I’m taking a year or two off.” 

Warner Music Japan has appointed Dr. Kenji Kitatani to the resurrected role of chairman of the label division, effective immediately. Dr. Kitatani will work closely with WMJ’s longtime president and CEO, Kazuyuki “Kaz” Kobayashi, to boost the company’s presence in the globe’s No. 2 music market. Dr. Kitatani currently holds the title of chairman of […]

A 26-year-old man has turned himself into police, saying he was responsible for the Solingen knife attack that left three dead and eight wounded at a festival marking the city’s 650th anniversary, German authorities announced Sunday (Aug. 25).
Duesseldorf police said in a joint statement with the prosecutor’s office that the man “stated that he was responsible for the attack.”

“This person’s involvement in the crime is currently being intensively investigated,” the statement said.

Federal prosecutors said they were investigating on suspicion of murder, attempted murder and membership in a foreign terrorist organization. The suspect, wearing handcuffs and leg shackles, was taken later Sunday from the police station in Solingen to make a first appearance before a judge at the Federal Court of Justice in Karlsruhe.

The suspect is a Syrian citizen who had applied for asylum in Germany, police confirmed to The Associated Press. The dpa news agency reported, without citing a specific source, that his asylum claim had been denied and that he was to have been deported last year.

On Saturday (Aug. 24), the Islamic State militant group claimed responsibility for the attack, without providing evidence. The extremist group said on its news site that the attacker targeted Christians and that the perpetrator carried out the assaults Friday night “to avenge Muslims in Palestine and everywhere.”

The claim couldn’t be independently verified. Only a small number of claims on the site have turned out to be completely baseless, said Peter Neumann, professor of security studies at King’s College London. However “ISIS’ strategy for a number of years has been to claim attacks which are merely ‘inspired’, in other words, in which the link between organization and attacker is merely ideological.”

Friday’s attack plunged the city of Solingen into shock and grief. A city of about 160,000 residents near the bigger cities of Cologne and Duesseldorf, Solingen was holding a “Festival of Diversity” to celebrate its anniversary.

People alerted police shortly after 9:30 p.m. local time Friday that a man had assaulted several people with a knife on the city’s central square, the Fronhof. The three people killed were two men aged 67 and 56 and a 56-year-old woman, authorities said. Police said the attacker appeared to have deliberately aimed for his victims’ throats.

The festival, which was due to have run through Sunday, was canceled as police looked for clues in the cordoned-off square. Instead, residents gathered to mourn the dead and injured, placing flowers and notes near the scene of the attack.

“Warum?” asked one sign placed amid candles and teddy bears. Why?

Among those asking themselves the question was 62-year-old Cord Boetther, a merchant fron Solingen.

“Why does something like this have to be done? It’s incomprehensible and it hurts,” Boetther said.

Officials had earlier said a 15-year-old boy was arrested on suspicion he knew about the planned attack and failed to inform authorities, but that he was not the attacker. Two female witnesses told police they overheard the boy and an unknown person before the attack speaking about intentions that corresponded to the bloodshed, officials said.

The attack comes amid debate over immigration ahead of regional elections next Sunday in Germany’s Saxony and Thueringia regions where anti-immigration parties such as the populist Alternative for Germany are expected to do well. In June, Chancellor Olaf Scholz vowed that the country would start deporting criminals from Afghanistan and Syria again after a knife attack by an Afghan immigrant left one police officer dead and four more people injured.

The IS militant group declared its caliphate in large parts of Iraq and Syria about a decade ago, but now holds no control over any land and has lost many prominent leaders. The group is mostly out of global news headlines.

Still, it continues to recruit members and claim responsibility for deadly attacks around the world, including lethal operations in Iran and Russia earlier this year that killed dozens of people. Its sleeper cells in Syria and Iraq still carry out attacks on government forces in both countries as well as U.S.-backed Syrian fighters.